A diverse collection of personal and political narratives and prose by Muslim women includes pieces by writers from a wide range of cultures and includes such tales as a woman's remembrance of a beloved cousin killed in a suicide bombing, a transsexual who remembers the veil he no longer wears, and a woman's confrontation of sexism and hypocrisy on a pilgrimage to Saudi Arabia. Original.
"Originally published in Russian as U voiny--ne zhenskoe lietiso by Mastatskaya Litaratura, Minsk, in 1985. Originally published in English as War's unwomanly face by Progress Publishers, Moscow, in 1988"--Title page verso.
Demonstrates that women are taking on increasingly less traditional roles during war, and that these roles are multifaceted, complicated and sometimes contradictory. Reveals that women's requirements during times of war will continue to be inadequate so long as we continue silencing the differing perspectives. Australian editors.
This book challenges the assumption that men write of war, women of the hearth. The Lebanese war has seen the publication of many more works of fiction by women than by men. Miriam Cooke has termed these women the Beirut Decentrists, as they are decentered or excluded from both literary canon and social discourse. Although they may not share religious or political affiliation, they do share a perspective which holds them together. Cooke traces the transformation in consciousness that has taken place among women who observed and recorded the progress towards chaos in Lebanon. During the so-called "two year" war of 1975-76 little comment was made about those (usually men in search of economic security) who left the saturnalia of violence, but with time attitudes changed. Women became aware that they had remained out of a sense of responsibility for others and that they had survived. Consciousness of survival was catalytic: the Beirut Decentrists began to describe a society that had gone beyond the masculinization normal in most wars and achieved an almost unprecedented feminization. Emigration, the expected behavior for men before 1975, became the sin qua non for Lebanese citizenship. The writings of the Beirut Decentists offer hope of an escape from the anarchy. If men and women could espouse the Lebanese women's sense of responsibility, the energy that had fueled the unrelenting savagery could be turned to reconstruction. But that was before the invasion of 1982.
She discusses the factors that provoked the war and how they affected Spanish women - both the "visible" women who during the turbulent 1920s and 1930s tried to become part of mainstream politics and the "invisible" women who came to the fore during the revolutionary years of the Second Spanish Republic from 1931 to 1936 and became activists in the protest against the military insurrection of 1936.
This political history of middle-class African American women during World War I focuses on their patriotic activity and social work. Nearly 200,000 African American men joined the Allied forces in France. At home, black clubwomen raised more than $125 million in wartime donations and assembled "comfort kits" for black soldiers, with chocolate, cigarettes, socks, a bible, and writing materials. Given the hostile racial climate of the day, why did black women make considerable financial contributions to the American and Allied war effort? Brown argues that black women approached the war from the nexus of the private sphere of home and family and the public sphere of community and labor activism. Their activism supported their communities and was fueled by a personal attachment to black soldiers and black families. Private Politics and Public Voices follows their lives after the war, when they carried their debates about race relations into public political activism.
Letters from soldiers to their families often provide prominent narratives of the Civil War. But what about the messages from the women who maintained homes and farmsteads alone, all while providing significant emotional support to their loved ones at the front? The letters and diaries of these eight women echo the ever-growing horrors of the conflict and reveal the stories of the Wisconsin home front. Twenty-one-year-old Emily Quiner sought a way to join the war effort that would feed her heart and mind. Annie Cox wrote to her pro-slavery fiancé to staunchly defend her abolitionist principles. Sisters Susan Brown and Ann Waldo faced the unexpected devastation that each battle brought to families. In Such Anxious Hours, Jo Ann Daly Carr places this material in historical context, detailing what was happening simultaneously in the nation, state, and local communities. Civil War history enthusiasts will appreciate these enlightening perspectives that demonstrate the variety of experiences in the Midwest during the bloody conflict.
In a book that radically and fundamentally revises the way we think about war, Miriam Cooke charts the emerging tradition of women's contributions to what she calls the "War Story," a genre formerly reserved for men. Concentrating on the contemporary literature of the Arab world, Cooke looks at how alternatives to the master narrative challenge the authority of experience and the permission to write. She shows how women who write themselves and their experiences into the War Story undo the masculine contract with violence, sexuality, and glory. There is no single War Story, Cooke concludes; the standard narrative—and with it the way we think about and conduct war—can be changed. As the traditional time, space, organization, and representation of war have shifted, so have ways of describing it. As drug wars, civil wars, gang wars, and ideological wars have moved into neighborhoods and homes, the line between combat zones and safe zones has blurred. Cooke shows how women's stories contest the acceptance of a dyadically structured world and break down the easy oppositions—home vs. front, civilian vs. combatant, war vs. peace, victory vs. defeat—that have framed, and ultimately promoted, war.
An oral history of the themes of war provides letters, photographs, and sketches from from U.S. veterans' who fought in World War I and II, Korea, Vietnam, and the Persian Gulf.
